Notes

---------------------------------------------------------

Source Info

SBD (shnID = 96275)
Recording Info: SBD > Master Reel > CD
Transfer Info: CD > Samplitude Professional v10.2 > FLAC
All Transfers and Mastering By Charlie Miller
December 6, 2008

AUD (shnID = 15537)
AudMC > DAT > WAV > SHN
Recording Info: Recorded by Jerry Moore, 1st level off floor,
audience right, roughly center court with 2 handheld AKG D-1000E >
Sony 152 deck. Maxell UD-120 cassettes, with Dolby B ON.
Analog > DAT transfer by Mark Cohen, January, 2003
DAT > SHN/CD by Noah Weiner (noahbw@attbi.com) February, 2003

Tascam 122MKIII cassette deck (MC playback) > Tascam DA40 DAT
deck (record) > Fostex D5 DAT deck (playback) > Turtle Beach
Montego II Digital I/O > Sound Forge (wav editing and track
IDs) > SHNTOOL (SBE fix) > MKW Audio Compression Toolkit (shn)

Thanks to all the hard work from the folks mentioned above with
their loving care getting these sources out.

---------------------------------------------------------

Notes on the Source Material

SBD (ShnID = 87643)
Another flawless transfer by Charlie Miller. This is probably the
best 1973 or 74 recording I have ever heard. It is also a very
complete recording with just 2 small cuts in songs and with most
of the btwn song tuning intact as well.

AUD1 (ShnID = 15537)
A terrific AUD recording by the master. Jerry Moore nails it again
with a great document of a 1974 dead show. This is exactly the type
of recording you want to mix with a SBD to combine forces and make
the whole greater than the sum of the parts. Also much of the btwn
song tuning is intact and the combination of these 2 sources probably
is every second of this show from start to finish. Including btwn
song tuning plus long intro and outro material. The whole enchilada.

---------------------------------------------------------

Tech Notes

FLAC/SHNs decoded and Wavemerge was used to reassemble the entire
show back to 1 long wave. CEP2.0 was used to align & synch both
of the sources. CEP2.0 was used for the multitrack mixdown.
This is a 65% SBD, 35% AUD1 mix.
- Mixed by dan@am-dig.com
- FLAC conversion 10-JAN-2008
- Artwork by dan@am-dig.com 300dpi - For best results
print at the highest resolution onto glossy photo paper.
Design for use with a clear slim double CD case.
- Special thanks to unknown photographers for the images used
for this artwork.

---------------------------------------------------------

Multitrack Mixdown Settings

Stereo Matrix
SBD -1.5db
AUD -7db

---------------------------------------------------------

Notes

d1t01 "Intro" this is comprised mostly of the AUD source and then
crossfades before the first song starts.

d1t02 "Don't Ease" the mix is all over the place for the first 1
minute. Mixing with the AUD has helped but not fixed this problem.

d1t08 "Cumberland Blues" the SBD was missing approx 30 seconds.
This section is comprise of just the AUD source. The AUD source
was EQ'd and levels adjusted to better blend with the sound of
the SBD. Crossfades applied to each end of the patch.

d2t04 "Intro" this is comprised mostly of the AUD source and then
crossfades before the first song of the second set starts.

d3t03 "Eyes Of The World" the SBD was missing approx 30 seconds.
This section is comprise of just the AUD source. The AUD source
was EQ'd and levels adjusted to better blend with the sound of
the SBD. Crossfades applied to each end of the patch.

---------------------------------------------------------

Notes on the Sound Samples

Sample_1

This is 15 second segments of the AUD, then the matrix and then
the SBD (.15 AUD, .15 MTX, .15 SBD - in that order). Just to give
you listen of all 3 versions. Note the subtle changes in sound
over the straight SBD. The extra warmth and lingering notes from
the guitar and the additional "thump" to the bass.

Sample_2

This sample gives you a quick A/B comparison to the straight
SBD. You'll hear a 15 second clip of the MTX followed by a
15 second clip of the SBD. 15 seconds MTX, 15 seconds SBD
and so on. This quiet portion and allows for a bit more of
the AUD to get into the mix.

Again, this clip was used b/c the sound difference is the more
apparent during this particular portion. The majority of the
recording you will only hear more subtle sound differences btwn
the SBD and the Matrix. The difference in tone and the overall
"size" of the recording being the most noticeable differences
to the SBD source. This is even more obvious on the 5.1
surround sound versions.

Sample_3

Here is the AUD patch in Cumberland Blues. The AUD for this
portion underwent quite a bit of DSP to try and make the source
transition as minimally jarring as possible. D'EQing, dynamic
compression and level adjustment as well long in/out crossfades.

Sample_4

Here is the AUD patch in Eyes Of The World. The AUD for this
portion underwent quite a bit of DSP to try and make the source
transition as minimally jarring as possible. D'EQing, dynamic
compression and level adjustment as well long in/out crossfades.

Sample_5.1

This is a sample of what to expect in the 6 different channels
used to make the 5.1 surround sound. First you get 15 seconds
of the front left/right channels, then 15 seconds of the center
channel, then 15 seconds of the subwoofer/LFE channel and then
15 seconds of the rear left/right channels. (The front and rear
are stereo in a 5.1 mix - usually the center and sub are mono
but for this sample they are 2 channel mono.)